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Malegalalli Madumagalu is a novel written by Jnanapeetha awardee and Rashtrakavi Kuvempu (K V Puttappa) in 1967. This thought-provoking Kannada novel explores the complexities of relationships and societal expectations. The novel was adapted into a 9-hour-long Kannada play, first showcased in 2010 at Rangayana, Mysore. The play's poignant storyline, coupled with memorable performances, makes it a compelling watch. With its nuanced portrayal of human emotions, the play leaves a lasting impact on the audience. Directed by C. Basavalingaiah during Lingadevaru Halemane's tenure as director of Rangayana, the play is a testament to the enduring power of Kuvempu's work. Notably, Basavalingaiah served as the director of Rangayana from 1997 to 2002.
Notably, the play is staged live in an outdoor setting, meticulously recreating in a very large area a village atmosphere that immerses the audience in the performance. This unique setting allows the audience to experience the story in a more organic and engaging way.
The play boasts outstanding performances from its entire cast, contributing to its immense success and subsequent increase in the number of shows. The collective talent of the actors has clearly resonated with audiences, cementing the play's popularity.
Part.2
The play was adapted into a YouTube serial in Kannada, produced and directed by C. Chandrashekar. The first episode of the serial premiered on January 10, 2020.
I recently watched 'Malegalalli Madumagalu' and found the cycle episode in Serial 7. In my opinion, the introduction could have been more engaging. However, my overall experience with the serial was disappointing. Despite watching only 10 minutes, I was underwhelmed by the amateurish production quality, dialogue delivery, acting, and direction, especially considering it was filmed around five years ago. The low production values and subpar performances detracted from my viewing experience.
Bicycle usage in the latter part of the 1960s: The novel includes a funny part on bicycles. Bicycles were a staple in Indian towns and urban areas during this period, offering an affordable alternative to cars. They gained widespread acceptance, particularly during the 1960s and 1970s. However, their usage has significantly declined over the years, and today, bicycles are mainly used by middle and high school students.
Unfortunately, the director, Chandrashekar, missed an opportunity to capitalize on the humorous potential of the bicycle episode, which could have added a rich layer of comedy to the narrative.
Conclusion
In contrast, the exceptional filmmaking of the 1970s, as seen in classics like Samskara (1970), Vamsha Vruksha, Chomana Dudi, and Ghatashraddha, set a high standard for storytelling and cinematography. Renowned directors such as B.V. Karanth, Girish Karnad, Girish Kasaravalli, and G.V. Iyer showcased outstanding craftsmanship, elevating the art of Indian cinema. Their innovative approaches to narrative and visuals continue to inspire filmmakers to this day.
Those were indeed impactful times for Kannada cinema and television. Shankar Nag, T.S. Nagabharana, and T.N. Sitharam made significant contributions to the medium, using their storytelling to convey meaningful messages and resonate with audiences.
Girish Kasaravalli's Akramana (1979) is a notable example, with its unique blend of storytelling and cinematography. The fact that it was partially filmed near your home in Krishnamurthy Puram, Mysore, adds a personal touch to the memory. Kasaravalli's work has been widely acclaimed, and his films often explored complex themes and human emotions. The introduction at 2:45 minutes is particularly noteworthy. It's a beautifully crafted scene, reminiscent of Girish Kasaravalli's exceptional direction in his 1979 film.
Despite advancements in technology, contemporary movies and serials often fall short of the excellence achieved by their predecessors. The gap between innovation and artistry has become increasingly apparent, with many modern productions prioritizing flashy visuals over compelling storytelling and nuanced character development.
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